November 11, 2025 • 7 mins
The incredible Suzy Eddie Izzard joins Jonesy & Amanda for an incredible chat!
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Episode Transcript
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Speaker 1 (00:10):
My Heart podcasts here, more Gold one on one point
seven podcasts.
Speaker 2 (00:14):
Playlists and listen live on the free iHeart app.
Speaker 3 (00:19):
And Amanda gem Nation, Well.
Speaker 1 (00:21):
She's the Emmy Award winning Tony Award nominated comedy legend, actor,
political powerhouse. She's almost run more marathons and we've done
breakfast shows and she still looks fab in the heels. Were,
of course talking about the always dazzling Susie Eddie Izzard.
She's bringing her sell out one person show, The Tragedy
of Hamlet to Australia next year, but before that, she's
(00:42):
joining us right here, right now in the Zoom Susie
high Hi.
Speaker 3 (00:46):
Yeah, so thank you for saying I'm very well down
for comedy, but drama as well, I must say, is
the thing that I have pushed by. When I was
seven this year, I just want to be an actor.
I didn't know they had a separation, and then I
realized you could concentrate on comedy and I just wasn't.
I wasn't getting the roles at school. So I developed
this comedy career that I thought, no, I'm getting a
separate agent. I have separate agents for drama and comedy,
(01:07):
which is unusual. I think I think you would say
if you, if you tract ages, no attracts agents like that.
But anyway, so this is the tragedy of happened about
a family tearing itself apart, a country tearing itself apart.
Some people come thinking it's comedy. It is not a comedy.
I will not laugh at that. But I was supposed
to be in Sydney very very soon to play my
(01:28):
remix to her during the comedy, and I've busted my knee,
and so We've had to reschedule that. So I'm afraid
it's they had had to go in there and do
work in the knee, and so then you can't fly.
Problem with DVTs deep bring from bosses, the gods, and
then so we just had to move it to May eighteenth.
To May, I'll be back at Sydney Opera House to
(01:49):
do my comedy to a my other day job, and
then I'll return in June to do Hamlet. So Australia
will see comedy going into drama, just like what Shakespeare did.
Just like what Shakespeare did, because he went from his
comedies to his dramas and his work and I'm just
following in his footsteps, so you'll see the apparently, if
(02:09):
you buy two tickets, you can see one going to
the other, and they're not the same.
Speaker 2 (02:12):
Shakespeare would have been okay with the DVT because you
wore the tights all the time.
Speaker 3 (02:16):
So I think they all wore types back then. And
even though there was no like Chris, so there must
have been big baggy wooly ties where you could keep
your shopping in as well.
Speaker 1 (02:24):
How did you go? How are you going in your
recovery with the knee, because as a marathon runner, hearing
that you can't run for eight weeks or whatever it is,
how's your mental health around all that?
Speaker 3 (02:33):
That's okay because I can just can watch Telly, you know,
the old thing of what you want to do. When
we were kids, we just wanted to watch Telly, and
then we COVID we were forced to go into that.
And I'm back into that kind of situation, but I
can you know, I do go around on the crutches,
and you and the movement twenty degrees of movement. So
I'm going to and allow the ligament to move itself
back until I get full extension and full movement in
(02:55):
the leg and then I'll be back and doing the
soified against myself as what happens, as what happens at Hamlet,
you can see how good my English is.
Speaker 1 (03:02):
As what happened to play all the roles in him,
it's something like twenty three yep.
Speaker 3 (03:07):
Yeah, well it's actually it's about six or eight main roles,
so it's not that complicated. But you know, Sarah Snooker
has been there winning awards doing her solo show. Other
people have been, Andrew Scott doing his solo show, a
lot of people doing solo shows. So so nothing particularly
special on that, but it does make people. It allows
people to concentrate on the storytelling of Shakespeare and the
(03:28):
words of Shakespeare as one person travels through it playing
the characters. And it's something I've maybe been training my
whole life to do this. And I was trained as
a street performer, which is much more like the training
that the actors in Shakespeare's day had, and they broke
the fourth wall all the time because they didn't have
this idea of a separation of characters on stage to
separation of the audience. They just were taught them they
(03:50):
were traveling players, and then they came into theaters just
before Hamlet was written. It's the very early days of
English theater.
Speaker 2 (03:56):
And do you you don't play the skull though as well?
Speaker 3 (03:58):
Surely yes, Well thell the skull sits in my hand
and I look at it, but the audience's imagination paints
it in just like if you're listening to a radio
play on things, and you could see all the things.
So if you read a book, your imagination sees all
the different the vistas, the mountains, you can see everything
in your imagination. We've got such great imaginations that it's
(04:19):
it's not a problem. And if you go to a
theater shown, any theater show will need about thirty percent
of your imagination. I'm just asking for thirty five percent.
And if you've got no imagination, don't come well.
Speaker 1 (04:30):
For many of us doing Shakespeare's school, the language drives
are so hard to wade through. I can imagine how
wonderfully you'll bring it to life.
Speaker 3 (04:39):
Well, this is the thing. It is Elizabethan verse. But
there are also the first quarter version, the second quarter version,
and the first folio version. There are different versions. And
we my brother older brothers did the editing. He and
he is the academic of the family and We argued
long and strong with my director, Selina Cadell, over which sections,
which pieces we would like to use, which pieces we'd
(05:00):
like to drop away, so that we wanted to serve
the play, make sure the play works because it's a
rewritten play. Shakespeare would always take plays that already existed
and rewrite and make them better. So that we wanted
that play to work so the kids from nine to
ninety can come in and grab it and walk away
with it. It's not we're not doing it for the elites.
We're doing it. This is this is a design for
(05:21):
the people, so that your people who would come in
those days. He wasn't Shakespeare wasn't saying I just want
the elite to like this, and all the groundlings who
stand in front of him, I want them to be
bored as well. He didn't want that. He wanted everyone
to grab it. So that's what we did, and you're you're.
Speaker 2 (05:35):
Going to be bringing it, so you're going to get
the each of your characters. They don't have an agent
as well, because that would be a lot of agents.
There'd be a lot of commissions that you have to pay.
Speaker 3 (05:43):
A lot of commissions. But no, it's all it's all
just me, but me separating my characters as I have
done in comedy for many years, having come from pythoness
sketch comedy, playing different characters with different voices. You can
change the voice, you can change the physicality of a
performer and their arcs in the in the story will
be in a different place. So Selena Kadell, my director,
(06:04):
was very good at making sure that I was in
the right place for when when Hamlet is really laying
into a feliure that she is falling apart here and
he is being this brutal person thinking this is the
way he's going to survive and not really carrying a
damn about what's happening to her, and she ends up
spoiler alert and not having a good time about.
Speaker 1 (06:24):
It, So, oh, you've wacked the end of Thanks well
not to.
Speaker 3 (06:28):
Have a good time, she could just you know, move
to a good time.
Speaker 2 (06:33):
This is going to be a great show. For tickets
to and tour information, head to ticket teck dot com
dot are you It's next year in June twenty twenty six.
Speaker 3 (06:41):
Heal will thank you very much and anyone who's got
their tickets for the The Remix show, I will be
returning in May. Go to Edison dot com. The details
will all be coming up in the next twenty four
hours and your your tickets will be honest. So I'll
be back and I'm performing everything.
Speaker 2 (06:56):
That's the comedy agent's job, though, so just let them
handle that, Okay, confusing, My messaging is a little confusing,
Not at all, not at all. Thank you for joining us.
Speaker 3 (07:09):
Thank you to se
My Heart podcasts here, more Gold one on one point
seven podcasts.
Speaker 2 (00:14):
Playlists and listen live on the free iHeart app.
Speaker 3 (00:19):
And Amanda gem Nation, Well.
Speaker 1 (00:21):
She's the Emmy Award winning Tony Award nominated comedy legend, actor,
political powerhouse. She's almost run more marathons and we've done
breakfast shows and she still looks fab in the heels. Were,
of course talking about the always dazzling Susie Eddie Izzard.
She's bringing her sell out one person show, The Tragedy
of Hamlet to Australia next year, but before that, she's
(00:42):
joining us right here, right now in the Zoom Susie
high Hi.
Speaker 3 (00:46):
Yeah, so thank you for saying I'm very well down
for comedy, but drama as well, I must say, is
the thing that I have pushed by. When I was
seven this year, I just want to be an actor.
I didn't know they had a separation, and then I
realized you could concentrate on comedy and I just wasn't.
I wasn't getting the roles at school. So I developed
this comedy career that I thought, no, I'm getting a
separate agent. I have separate agents for drama and comedy,
(01:07):
which is unusual. I think I think you would say
if you, if you tract ages, no attracts agents like that.
But anyway, so this is the tragedy of happened about
a family tearing itself apart, a country tearing itself apart.
Some people come thinking it's comedy. It is not a comedy.
I will not laugh at that. But I was supposed
to be in Sydney very very soon to play my
(01:28):
remix to her during the comedy, and I've busted my knee,
and so We've had to reschedule that. So I'm afraid
it's they had had to go in there and do
work in the knee, and so then you can't fly.
Problem with DVTs deep bring from bosses, the gods, and
then so we just had to move it to May eighteenth.
To May, I'll be back at Sydney Opera House to
(01:49):
do my comedy to a my other day job, and
then I'll return in June to do Hamlet. So Australia
will see comedy going into drama, just like what Shakespeare did.
Just like what Shakespeare did, because he went from his
comedies to his dramas and his work and I'm just
following in his footsteps, so you'll see the apparently, if
(02:09):
you buy two tickets, you can see one going to
the other, and they're not the same.
Speaker 2 (02:12):
Shakespeare would have been okay with the DVT because you
wore the tights all the time.
Speaker 3 (02:16):
So I think they all wore types back then. And
even though there was no like Chris, so there must
have been big baggy wooly ties where you could keep
your shopping in as well.
Speaker 1 (02:24):
How did you go? How are you going in your
recovery with the knee, because as a marathon runner, hearing
that you can't run for eight weeks or whatever it is,
how's your mental health around all that?
Speaker 3 (02:33):
That's okay because I can just can watch Telly, you know,
the old thing of what you want to do. When
we were kids, we just wanted to watch Telly, and
then we COVID we were forced to go into that.
And I'm back into that kind of situation, but I
can you know, I do go around on the crutches,
and you and the movement twenty degrees of movement. So
I'm going to and allow the ligament to move itself
back until I get full extension and full movement in
(02:55):
the leg and then I'll be back and doing the
soified against myself as what happens, as what happens at Hamlet,
you can see how good my English is.
Speaker 1 (03:02):
As what happened to play all the roles in him,
it's something like twenty three yep.
Speaker 3 (03:07):
Yeah, well it's actually it's about six or eight main roles,
so it's not that complicated. But you know, Sarah Snooker
has been there winning awards doing her solo show. Other
people have been, Andrew Scott doing his solo show, a
lot of people doing solo shows. So so nothing particularly
special on that, but it does make people. It allows
people to concentrate on the storytelling of Shakespeare and the
(03:28):
words of Shakespeare as one person travels through it playing
the characters. And it's something I've maybe been training my
whole life to do this. And I was trained as
a street performer, which is much more like the training
that the actors in Shakespeare's day had, and they broke
the fourth wall all the time because they didn't have
this idea of a separation of characters on stage to
separation of the audience. They just were taught them they
(03:50):
were traveling players, and then they came into theaters just
before Hamlet was written. It's the very early days of
English theater.
Speaker 2 (03:56):
And do you you don't play the skull though as well?
Speaker 3 (03:58):
Surely yes, Well thell the skull sits in my hand
and I look at it, but the audience's imagination paints
it in just like if you're listening to a radio
play on things, and you could see all the things.
So if you read a book, your imagination sees all
the different the vistas, the mountains, you can see everything
in your imagination. We've got such great imaginations that it's
(04:19):
it's not a problem. And if you go to a
theater shown, any theater show will need about thirty percent
of your imagination. I'm just asking for thirty five percent.
And if you've got no imagination, don't come well.
Speaker 1 (04:30):
For many of us doing Shakespeare's school, the language drives
are so hard to wade through. I can imagine how
wonderfully you'll bring it to life.
Speaker 3 (04:39):
Well, this is the thing. It is Elizabethan verse. But
there are also the first quarter version, the second quarter version,
and the first folio version. There are different versions. And
we my brother older brothers did the editing. He and
he is the academic of the family and We argued
long and strong with my director, Selina Cadell, over which sections,
which pieces we would like to use, which pieces we'd
(05:00):
like to drop away, so that we wanted to serve
the play, make sure the play works because it's a
rewritten play. Shakespeare would always take plays that already existed
and rewrite and make them better. So that we wanted
that play to work so the kids from nine to
ninety can come in and grab it and walk away
with it. It's not we're not doing it for the elites.
We're doing it. This is this is a design for
(05:21):
the people, so that your people who would come in
those days. He wasn't Shakespeare wasn't saying I just want
the elite to like this, and all the groundlings who
stand in front of him, I want them to be
bored as well. He didn't want that. He wanted everyone
to grab it. So that's what we did, and you're you're.
Speaker 2 (05:35):
Going to be bringing it, so you're going to get
the each of your characters. They don't have an agent
as well, because that would be a lot of agents.
There'd be a lot of commissions that you have to pay.
Speaker 3 (05:43):
A lot of commissions. But no, it's all it's all
just me, but me separating my characters as I have
done in comedy for many years, having come from pythoness
sketch comedy, playing different characters with different voices. You can
change the voice, you can change the physicality of a
performer and their arcs in the in the story will
be in a different place. So Selena Kadell, my director,
(06:04):
was very good at making sure that I was in
the right place for when when Hamlet is really laying
into a feliure that she is falling apart here and
he is being this brutal person thinking this is the
way he's going to survive and not really carrying a
damn about what's happening to her, and she ends up
spoiler alert and not having a good time about.
Speaker 1 (06:24):
It, So, oh, you've wacked the end of Thanks well
not to.
Speaker 3 (06:28):
Have a good time, she could just you know, move
to a good time.
Speaker 2 (06:33):
This is going to be a great show. For tickets
to and tour information, head to ticket teck dot com
dot are you It's next year in June twenty twenty six.
Speaker 3 (06:41):
Heal will thank you very much and anyone who's got
their tickets for the The Remix show, I will be
returning in May. Go to Edison dot com. The details
will all be coming up in the next twenty four
hours and your your tickets will be honest. So I'll
be back and I'm performing everything.
Speaker 2 (06:56):
That's the comedy agent's job, though, so just let them
handle that, Okay, confusing, My messaging is a little confusing,
Not at all, not at all. Thank you for joining us.
Speaker 3 (07:09):
Thank you to se
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